Funny thing, the two songs I'm reviewing span the "classic rock" (Stevie Nicks) and "modern/alternative rock" (Radiohead) generations, hence the title of this entry! Anyway, here they are:
"Lotus Flower" by Radiohead: It's amazing how "viral videos" will make a song that's barely a week old gain so much popularity. Such is the case with Radiohead's latest tune, "Lotus Flower", the video of which consists entirely of Thom Yorke doing a weird (but cool) dance, filmed in black and white. Anyway, on with the song. For those expecting the folk-rock-y guitars mingling with techno-y beats like they did on Radiohead's songs from about four years back ("Jigsaw Falling Into Place" and "House of Cards"), you'll probably be a bit let down, as this song has a bit more of an electro-rock focus to it. However, it does a fine job emulating "trip-hop" music (Bjork, for instance). With its Bjork-esque sound and strangely alluring video, Bjork oughta see/hear "Lotus Flower" if she hasn't already!
"Secret Love" by Stevie Nicks: Again, those expecting a folk-rock-y Stevie Nicks song a la Fleetwood Mac might be a bit disappointed. "Secret Love" is actually BETTER than I expected it to sound, though. The vibe to this song suggests Peter Gabriel and "Joshua Tree"-era U2, perhaps because Dave Stewart from The Eurythmics produced it. Though this song lacks both the aggression of "Edge of Seventeen" and the heart-melting qualities of "Landslide", "Secret Love" isn't bad, especially if Stevie is intending on expanding her audience to the Imogen Heap/Jem/Beth Orton type crowd (which it sounds like she is with this song). A job well done, I say!
Wednesday, February 23, 2011
Wednesday, February 16, 2011
new songs for Feb. 16th, 2011
Here they are:
"100 Other Lovers" by DeVotchKa: DeVotchKa are an indie group perhaps best known for doing the opening song in the smash indie flick (and one of my personal fave movies of all time), "Little Miss Sunshine". The song was called "How It Ends", and it was a very poignant piece of work dominated by plaintive, melancholy vocals, gentle keyboards, and sighing violins. Five years later, DeVotchKa have still got it in them, but it lacks the emotional power of "How It Ends", perhaps mainly because, well, "100 Other Lovers" is more of a happy, bouncy tune without any emphasized minor chords. This is not to criticize "100 Other Lovers, as it is still a fine tune, and the orchestration is remarkably similar to "How It Ends", with its keyboards, violins, and vocals. However, in "100 Other Lovers", the keyboards have more of a tinkly sound, the violins sound more excited and energetic, and the vocals sound calmer. Overall, though, this song has a very relaxing, looking-out-the-window-on-a-Sunday-morning sort of vibe, so I still like it.
"Our Hearts Are Wrong" by Jessica Lea Mayfield: People who are familiar with Aimee Mann's charmingly quirky, folk-pop-y, solo career material will probably like what is becoming newcomer Jessica Lea Mayfield's first "hit", "Our Hearts Are Wrong". Despite the pessimistic sounding title of this song, it is actually a rather upbeat sort of tune with rather unique instrumentation, complete with a "We Will Rock You" type beat (only a bit more of a "softened" version if you know what I mean). "Our Hearts Are Wrong" centers largely around the percussion and acoustic guitar, though there are occasionally other instruments the song uses that set it apart from that of your average indie-pop/folk-pop female musician. There are occasional bursts of a somewhat "indie-fied" Creedence Clearwater Revival-ish electric guitar sound in some of the parts in between the song, and the sunshiny, bright and cheerful sound of the organ towards the middle might just be the best part of the entire song!
"The Afterlife" by Paul Simon: One of the most amazing things about songs from Paul Simon's solo career is that many of them, especially those he did in the '70s and '80s, incorporate a musical gumbo of many different styles. Sure, he might have started out with folk-pop numbers like "Kodachrome" and "Me And Julio Down By the Schoolyard", but not long afterward he expanded his musical terrain into reggae ("Mother And Child Reunion"), Latin jazz ("Late In the Evening"), and African influenced material (the entire "Graceland" album, as well as "The Rhythm of the Saints, the album that followed immediately after). Simon actually released a couple records in the '00s, but most of them lacked (or tried too hard to emulate) the World music vibes he went for in most of his solo career material. Thankfully, Simon's latest, "The Afterlife", has sought to correct all that! The World music influence has returned in "The Afterlife", and there's even the advantage of the lyrical cleverness Simon uses in the lyrics for those who are under the impression he is still merely trying hard to emulate his "Graceland"/"Rhythm of the Saints" period in his career. As one might expect in a song titled "The Afterlife", many of the lyrics deal with religion and philosophy. I especially admire the rhyme scheme in some of the lyrics ("I was finding it odd there was no sign of God", "Buddha and Moses and all of the noses", etc.), and I think that is what really makes this song worth listening to in my opinion!
"100 Other Lovers" by DeVotchKa: DeVotchKa are an indie group perhaps best known for doing the opening song in the smash indie flick (and one of my personal fave movies of all time), "Little Miss Sunshine". The song was called "How It Ends", and it was a very poignant piece of work dominated by plaintive, melancholy vocals, gentle keyboards, and sighing violins. Five years later, DeVotchKa have still got it in them, but it lacks the emotional power of "How It Ends", perhaps mainly because, well, "100 Other Lovers" is more of a happy, bouncy tune without any emphasized minor chords. This is not to criticize "100 Other Lovers, as it is still a fine tune, and the orchestration is remarkably similar to "How It Ends", with its keyboards, violins, and vocals. However, in "100 Other Lovers", the keyboards have more of a tinkly sound, the violins sound more excited and energetic, and the vocals sound calmer. Overall, though, this song has a very relaxing, looking-out-the-window-on-a-Sunday-morning sort of vibe, so I still like it.
"Our Hearts Are Wrong" by Jessica Lea Mayfield: People who are familiar with Aimee Mann's charmingly quirky, folk-pop-y, solo career material will probably like what is becoming newcomer Jessica Lea Mayfield's first "hit", "Our Hearts Are Wrong". Despite the pessimistic sounding title of this song, it is actually a rather upbeat sort of tune with rather unique instrumentation, complete with a "We Will Rock You" type beat (only a bit more of a "softened" version if you know what I mean). "Our Hearts Are Wrong" centers largely around the percussion and acoustic guitar, though there are occasionally other instruments the song uses that set it apart from that of your average indie-pop/folk-pop female musician. There are occasional bursts of a somewhat "indie-fied" Creedence Clearwater Revival-ish electric guitar sound in some of the parts in between the song, and the sunshiny, bright and cheerful sound of the organ towards the middle might just be the best part of the entire song!
"The Afterlife" by Paul Simon: One of the most amazing things about songs from Paul Simon's solo career is that many of them, especially those he did in the '70s and '80s, incorporate a musical gumbo of many different styles. Sure, he might have started out with folk-pop numbers like "Kodachrome" and "Me And Julio Down By the Schoolyard", but not long afterward he expanded his musical terrain into reggae ("Mother And Child Reunion"), Latin jazz ("Late In the Evening"), and African influenced material (the entire "Graceland" album, as well as "The Rhythm of the Saints, the album that followed immediately after). Simon actually released a couple records in the '00s, but most of them lacked (or tried too hard to emulate) the World music vibes he went for in most of his solo career material. Thankfully, Simon's latest, "The Afterlife", has sought to correct all that! The World music influence has returned in "The Afterlife", and there's even the advantage of the lyrical cleverness Simon uses in the lyrics for those who are under the impression he is still merely trying hard to emulate his "Graceland"/"Rhythm of the Saints" period in his career. As one might expect in a song titled "The Afterlife", many of the lyrics deal with religion and philosophy. I especially admire the rhyme scheme in some of the lyrics ("I was finding it odd there was no sign of God", "Buddha and Moses and all of the noses", etc.), and I think that is what really makes this song worth listening to in my opinion!
Wednesday, February 9, 2011
It's my first Blog-i-versary!!! (kind of)
I first started this blog on February 11th of last year (but that's not a Wednesday), so today I'm celebrating my first blog-i-versary!!! With 8 cool new tracks to review, too! So here they are:
"Helplessness Blues" by Fleet Foxes: I love how nostalgic and simply beautiful Fleet Foxes' music sounds. "White Winter Hymnal" has a very dreamy sound, and "Mykonos" has remarkably similar chord structure to The Mamas and Papas' "California Dreamin'", another personal fave of mine. That being said, I was pretty excited to hear Fleet Foxes released a new track this year!! "Helplessness Blues", once again, evokes the same dreamy, nostalgic qualities that most of their songs tend to. It almost sounds like it uses the same tuning as Joni Mitchell's "You Turn Me On I'm A Radio", and the mood of the song even seems somewhat Joni-like (and Dylanesque). Fleet Foxes have once again managed to win my heart over, and I hope they continue to do so!!
"Let the Light In" by Bob Schneider: Bob Schneider has been around for longer on the music scene than most people probably think he has been (since around 2003). It wasn't until 2009, though, that he started getting attention with songs like the marvelous, enchanting indie-pop/adult alt fave "40 Dogs (Like Romeo and Juliet)" and the more subdued, somewhat Dave Matthews-ish "The Bringdown". I guess adult alt radio liked Schneider enough that they've decided to give him another chance. "Let the Light In", amazingly, lives up to its title. It's not bittersweet like "40 Dogs" or melancholy like "The Bringdown", but instead is a rather happy song, with sunny synths and exciting xylophones to set the mood! I wasn't sure whether to expect indie-pop or folk-pop with "Let the Light In", as Schneider has been known to do both, but this song meets somewhere in between, and I think I like that!
"Me Me Me" by Middle Brother: Imagine what it would be like if alumni from three somewhat roots-y indie rock groups (Delta Spirit, Deer Tick, and Dawes) formed into one supergroup and somehow landed a guest spot on "Happy Days". What would that be like?!? Well, wonder no more, for Middle Brother is a supergroup comprised of members of all three of the bands I just mentioned, and their first big hit (among the indie/adult alt crowds), "Me Me Me", sounds more like a song you'd expect to hear from Elvis Presley or Jerry Lee Lewis (albeit with a "fuzz" guitar solo in the middle) than you would from three bands who typically bear more similarity to acts like Bright Eyes, Wilco, and My Morning Jacket. It's a darn catchy tune that I would definitely like to hear more of for at least the late winter/Spring season!! Between the rockin' boogie vibe of this song and the Joni Mitchell-esque folk-rock of "Helplessness Blues" I can't decide which is my fave pick of the week!!
"Poison And Wine" by The Civil Wars: A bit of a late review here, but please bear with me. This song could easily be called "Falling Slowly - redux". It's a melancholy folk-rock tune that features a duet between a guy and a girl (though unlike Glen and Marketa, of "Falling Slowly" fame, I don't think The Civil Wars are Irish). "Poison and Wine" definitely seems like it was intended to be a tearjerker, yet I only get that emotion from the song about halfway. I guess "Falling Slowly" had such an authentically emotional grip on me that I didn't expect any song or band to try and copy it, yet lo and behold, The Civil Wars' "Poison and Wine" shows up about four years later! Perhaps I shouldn't care too much if one song is copying (intentionally or not) another, as I do typically love songs like "Poison and Wine"!
"The Roller" by Beady Eye: Hmmmm....who's "Beady Eye"?!? This sounds more like an Oasis tune. That's because, technically, this IS an Oasis tune. Beady Eye is the side project of one of the Gallagher brothers (though I forget which one at the moment), and "The Roller" really doesn't sound too different at all from the typical Oasis song. Oasis are one of my fave bands, though, so no problem here! The jaunty, toe-tapping feel of "The Roller" also helps to give it a little bit of flavor and distinction from most Oasis tunes (besides "Lyla" which had practically the same rhythm).
"Too Dramatic" by Ra Ra Riot: Ra Ra Riot's follow-up to "Boy" sounds like...well..."Boy". But it's still worth reviewing because it's a tune that's been catchy enough to get stuck in my head! And plus you gotta love a band who combines the reggae-tinged new wave sound of The Police with the "orchestral rock" vibes of groups like Arcade Fire! Perhaps one advantage "Too Dramatic" has over "Boy" is that the guitar seems to be used throughout the song (though "Boy" had a much more distinct guitar solo), and, since I play guitar, this does make a difference for me.
"When I'm Alone" by Lissie: Between this song and Lissie's previous hit, "In Sleep", I'm pretty convinced that Lissie is on her way to becoming the indie world's answer to Alanis Morissette! Both songs manage to combine a pop-y melody with minor key chords and world-weary, frustrated lyrics. "When I'm Alone" is a bit more of an intense tune than "In Sleep", though, I think, not only because of its more frenzied rhythm, but also because of the rushed way she delivers the lyrics in the verses, almost as though out of desperation. "When I'm Alone" uses a rhythmic technique that isn't really that common in pop/rock music these days, and the way Lissie manages to keep steady vocal patterns in the chorus over its frenetic instrumentation makes it all the more worth listening to!
"World Gone Crazy" by The Doobie Brothers: Back in the summer of last year, an updated version of The Doobies' 1972 song "Nobody" started (surprisingly) hitting the adult alt airwaves and (even MORE surprisingly) hit the Top 20 of the adult alt charts somewhere around mid-fall of last year. What made "Nobody" such a cool song was that it sounded like a vintage Doobie Brothers tune (the kind you'd be likely to hear on a classic rock station, not the Michael McDonald era Doobies). "World Gone Crazy" doesn't quite have the same vibe. It sounds a bit more like an updated version of an Eagles song (only more sax heavy). It does have two saving graces, though. First off, it's a catchy tune (I can't say that about too many of the Michael McDonald songs, save for possibly "Takin' It to the Streets"), but the best part is that the lead vocalist was the one who sang on all the pre-McDonald tracks (I forget his name, but I like him MUCH better than McDonald).
"Helplessness Blues" by Fleet Foxes: I love how nostalgic and simply beautiful Fleet Foxes' music sounds. "White Winter Hymnal" has a very dreamy sound, and "Mykonos" has remarkably similar chord structure to The Mamas and Papas' "California Dreamin'", another personal fave of mine. That being said, I was pretty excited to hear Fleet Foxes released a new track this year!! "Helplessness Blues", once again, evokes the same dreamy, nostalgic qualities that most of their songs tend to. It almost sounds like it uses the same tuning as Joni Mitchell's "You Turn Me On I'm A Radio", and the mood of the song even seems somewhat Joni-like (and Dylanesque). Fleet Foxes have once again managed to win my heart over, and I hope they continue to do so!!
"Let the Light In" by Bob Schneider: Bob Schneider has been around for longer on the music scene than most people probably think he has been (since around 2003). It wasn't until 2009, though, that he started getting attention with songs like the marvelous, enchanting indie-pop/adult alt fave "40 Dogs (Like Romeo and Juliet)" and the more subdued, somewhat Dave Matthews-ish "The Bringdown". I guess adult alt radio liked Schneider enough that they've decided to give him another chance. "Let the Light In", amazingly, lives up to its title. It's not bittersweet like "40 Dogs" or melancholy like "The Bringdown", but instead is a rather happy song, with sunny synths and exciting xylophones to set the mood! I wasn't sure whether to expect indie-pop or folk-pop with "Let the Light In", as Schneider has been known to do both, but this song meets somewhere in between, and I think I like that!
"Me Me Me" by Middle Brother: Imagine what it would be like if alumni from three somewhat roots-y indie rock groups (Delta Spirit, Deer Tick, and Dawes) formed into one supergroup and somehow landed a guest spot on "Happy Days". What would that be like?!? Well, wonder no more, for Middle Brother is a supergroup comprised of members of all three of the bands I just mentioned, and their first big hit (among the indie/adult alt crowds), "Me Me Me", sounds more like a song you'd expect to hear from Elvis Presley or Jerry Lee Lewis (albeit with a "fuzz" guitar solo in the middle) than you would from three bands who typically bear more similarity to acts like Bright Eyes, Wilco, and My Morning Jacket. It's a darn catchy tune that I would definitely like to hear more of for at least the late winter/Spring season!! Between the rockin' boogie vibe of this song and the Joni Mitchell-esque folk-rock of "Helplessness Blues" I can't decide which is my fave pick of the week!!
"Poison And Wine" by The Civil Wars: A bit of a late review here, but please bear with me. This song could easily be called "Falling Slowly - redux". It's a melancholy folk-rock tune that features a duet between a guy and a girl (though unlike Glen and Marketa, of "Falling Slowly" fame, I don't think The Civil Wars are Irish). "Poison and Wine" definitely seems like it was intended to be a tearjerker, yet I only get that emotion from the song about halfway. I guess "Falling Slowly" had such an authentically emotional grip on me that I didn't expect any song or band to try and copy it, yet lo and behold, The Civil Wars' "Poison and Wine" shows up about four years later! Perhaps I shouldn't care too much if one song is copying (intentionally or not) another, as I do typically love songs like "Poison and Wine"!
"The Roller" by Beady Eye: Hmmmm....who's "Beady Eye"?!? This sounds more like an Oasis tune. That's because, technically, this IS an Oasis tune. Beady Eye is the side project of one of the Gallagher brothers (though I forget which one at the moment), and "The Roller" really doesn't sound too different at all from the typical Oasis song. Oasis are one of my fave bands, though, so no problem here! The jaunty, toe-tapping feel of "The Roller" also helps to give it a little bit of flavor and distinction from most Oasis tunes (besides "Lyla" which had practically the same rhythm).
"Too Dramatic" by Ra Ra Riot: Ra Ra Riot's follow-up to "Boy" sounds like...well..."Boy". But it's still worth reviewing because it's a tune that's been catchy enough to get stuck in my head! And plus you gotta love a band who combines the reggae-tinged new wave sound of The Police with the "orchestral rock" vibes of groups like Arcade Fire! Perhaps one advantage "Too Dramatic" has over "Boy" is that the guitar seems to be used throughout the song (though "Boy" had a much more distinct guitar solo), and, since I play guitar, this does make a difference for me.
"When I'm Alone" by Lissie: Between this song and Lissie's previous hit, "In Sleep", I'm pretty convinced that Lissie is on her way to becoming the indie world's answer to Alanis Morissette! Both songs manage to combine a pop-y melody with minor key chords and world-weary, frustrated lyrics. "When I'm Alone" is a bit more of an intense tune than "In Sleep", though, I think, not only because of its more frenzied rhythm, but also because of the rushed way she delivers the lyrics in the verses, almost as though out of desperation. "When I'm Alone" uses a rhythmic technique that isn't really that common in pop/rock music these days, and the way Lissie manages to keep steady vocal patterns in the chorus over its frenetic instrumentation makes it all the more worth listening to!
"World Gone Crazy" by The Doobie Brothers: Back in the summer of last year, an updated version of The Doobies' 1972 song "Nobody" started (surprisingly) hitting the adult alt airwaves and (even MORE surprisingly) hit the Top 20 of the adult alt charts somewhere around mid-fall of last year. What made "Nobody" such a cool song was that it sounded like a vintage Doobie Brothers tune (the kind you'd be likely to hear on a classic rock station, not the Michael McDonald era Doobies). "World Gone Crazy" doesn't quite have the same vibe. It sounds a bit more like an updated version of an Eagles song (only more sax heavy). It does have two saving graces, though. First off, it's a catchy tune (I can't say that about too many of the Michael McDonald songs, save for possibly "Takin' It to the Streets"), but the best part is that the lead vocalist was the one who sang on all the pre-McDonald tracks (I forget his name, but I like him MUCH better than McDonald).
Wednesday, February 2, 2011
new songs for Feb. 2nd, 2011
here they are:
"Architects And Engineers" by Guster: As if this song wasn't cool enough (which it is), the music video for this song seems to indicate that this song will become this year's "Tighten Up"!! Much like the (initial) video for that song (which eventually became my number one song of 2010), it features a singing puppet that has a name - Sing-Along-Paul. He looks somewhat like a cross between the later "Star Wars" movies' Jar-Jar Binks and the smart-mouthed goat puppet Rufus Leaking from the indie music showcase and quasi-children's show "Pancake Mountain". Musically, all the trademark folk-rock instrumentation and sunny Beach Boys-esque harmonies of the typical Guster song are present, but seriously, the music video for this song just takes the cake!! Someone needs to convince Guster to make a guest appearance on "Sesame Street" - between their quirky sense of humor and their charmingly child-like melodies, they'd be perfect for it!! You can find it on this link:
(http://www.youtube.com/watch?v=svugXFeZQnA)
"Booty City" by Black Joe Lewis and The Honeybears: 2009's best James Brown imitation is back!! Two songs made the adult alt airwaves from these funky retro-soul men back then, "Sugarfoot" and "I'm Broke", but I much preferred the former for its boogie vibe and James Brown-ish vocals and instrumentation. "I'm Broke" just wasn't as catchy, so I didn't know what to anticipate for "Booty City" (though the title alone seemed to indicate it'd be a pretty catchy song)! "Booty City" not only brings back the danceable, funky rhythm of "Sugarfoot", but it's also a bit more heavy on the guitar parts, which makes me happy! "Booty City" is a great song to get yer groove on if you ever feel like doing so!!
"Everybody Needs Love" by Drive-By Truckers: Just the name of this band automatically evokes images of a country influenced group, doesn't it? Well, more accurately, Drive-By Truckers are more of a country-rock group than just plain old country. They're a bit like The Black Crowes with their influences mixing hard rock with country and Southern rock, though "Everybody Needs Love", which is so far their breakthrough song, is a bit more like a "softer" Eagles song (think "Peaceful Easy Feeling", "Lyin' Eyes", etc.). That is, until it gets to the guitar solo midway through (and towards the end, for a second time around) the song, where it takes on more of an Allman Brothers-ish quality, a la "Blue Sky", "Midnight Rider", and "Melissa". "Everybody Needs Love" is a real tearjerker, and it manages to capture the feel of your typical '70s Southern rock/country-rock ballad pretty well, so I would highly recommend it for the fans of the more countrified side of The Allmans, Skynyrd, The Eagles, etc.
"Flirted With You All My Life" by Cowboy Junkies: What a neat concept, an indie-folk band covering indie-folk artist Vic Chestnutt (who, unfortunately, passed away last year). Having not heard Vic's version, I get the idea it's probably a pretty good song given the bittersweet vibe Cowboy Junkies have given it (plus I have a couple indie music loving friends who really seem to like both Vic and Cowboy Junkies). Cowboy Junkies' version almost seems to come off like Rilo Kiley covering The Cure's "Just Like Heaven" (it has practically the same chord sequence - A, E, B minor, D, with an F sharp minor occasionally replacing the D in "Flirted With You All My Life"). "Flirted With You All My Life" seems like one of those "drinking coffee on a Sunday morning" type of songs if you know what I mean (despite the fact I don't actually drink coffee).
"He Don't Live Here No More" by Robbie Robertson: Is it just me, or has Robbie Robertson wanted to stray farther and farther away from The Band's roots-rock sound ever since he left them? His two '80s solo hits, "Showdown At Big Sky" and "Somewhere Down the Crazy River" both sounded more like Peter Gabriel and the material from Paul Simon's "Graceland" album than they did like The Band. Though the "world music rock" trend that Gabriel, Simon, Joni Mitchell, Sting, and occasionally David Byrne from Talking Heads made possible in the '80s has pretty much faded by now, Robbie Robertson keeps the "world music rock" torch flaming in his latest, "He Don't Live Here No More". Robbie adds even more world music influence in "He Don't Live Here No More" with its flamenco guitar solo in the middle. But don't assume Robbie's forgotten how to rock, the beat of the song is still rock 'n' roll underneath it all!
"On Main Street" by Los Lobos: It seems odd to me that the rather somber, autumnal "Burn It Down" from Los Lobos' latest album ("Tin Can Trust") got noticed in the summer, yet it's taken until winter for the more summery, somewhat '60s rock influenced "On Main Street" to receive airplay on stations besides LA's KCSN. Perhaps I shouldn't let the "seasonal moods" of the two songs get in the way, though, as "On Main Street" is an easygoing feel-good kinda song. The fuzzy electric guitar riffs on "On Main Street" also provide interesting contrast with the mostly acoustic (until the end) "Burn It Down". The summery vibe of "On Main Street" evokes images of laying down underneath the sun on the beach just relaxing the day away. Could Los Lobos' next song be a stormy, ice-cold, wintry one?! I guess we'll find out!
"Second Chance" by Peter Bjorn and John: What do you get if you take the fuzz guitars of '60s psych-pop band Love's "7 And 7 Is", cowbells to keep the rhythm, and add just a dash of the new wave-y indie rock of Phoenix?! You get Peter Bjorn and John's latest song, "Second Chance"!! This is a pretty cool song coming from a band whose only other hit (so far) was the more subdued, quiet (except for the drum intro) indie-pop tune from '06, "Young Folks". Somehow I get the impression that the three Swedish indie-popsters were listening to The Black Keys' latest album, "Brothers" when they made "Second Chance", as it has practically the same sort of "fuzz guitars" as many of the songs on that CD! "Young Folks" was a mostly keyboard oriented song, so I was pretty surprised to hear not only that "Second Chance" even had a guitar to begin with, but that the solos seemed to be taken straight out of one of Led Zeppelin's songs!! Way to go, Peter Bjorn and John! Between this song and the video for "Architects and Engineers", I can't decide which one is my fave song of the week!!
"Architects And Engineers" by Guster: As if this song wasn't cool enough (which it is), the music video for this song seems to indicate that this song will become this year's "Tighten Up"!! Much like the (initial) video for that song (which eventually became my number one song of 2010), it features a singing puppet that has a name - Sing-Along-Paul. He looks somewhat like a cross between the later "Star Wars" movies' Jar-Jar Binks and the smart-mouthed goat puppet Rufus Leaking from the indie music showcase and quasi-children's show "Pancake Mountain". Musically, all the trademark folk-rock instrumentation and sunny Beach Boys-esque harmonies of the typical Guster song are present, but seriously, the music video for this song just takes the cake!! Someone needs to convince Guster to make a guest appearance on "Sesame Street" - between their quirky sense of humor and their charmingly child-like melodies, they'd be perfect for it!! You can find it on this link:
(http://www.youtube.com/watch?v=svugXFeZQnA)
"Booty City" by Black Joe Lewis and The Honeybears: 2009's best James Brown imitation is back!! Two songs made the adult alt airwaves from these funky retro-soul men back then, "Sugarfoot" and "I'm Broke", but I much preferred the former for its boogie vibe and James Brown-ish vocals and instrumentation. "I'm Broke" just wasn't as catchy, so I didn't know what to anticipate for "Booty City" (though the title alone seemed to indicate it'd be a pretty catchy song)! "Booty City" not only brings back the danceable, funky rhythm of "Sugarfoot", but it's also a bit more heavy on the guitar parts, which makes me happy! "Booty City" is a great song to get yer groove on if you ever feel like doing so!!
"Everybody Needs Love" by Drive-By Truckers: Just the name of this band automatically evokes images of a country influenced group, doesn't it? Well, more accurately, Drive-By Truckers are more of a country-rock group than just plain old country. They're a bit like The Black Crowes with their influences mixing hard rock with country and Southern rock, though "Everybody Needs Love", which is so far their breakthrough song, is a bit more like a "softer" Eagles song (think "Peaceful Easy Feeling", "Lyin' Eyes", etc.). That is, until it gets to the guitar solo midway through (and towards the end, for a second time around) the song, where it takes on more of an Allman Brothers-ish quality, a la "Blue Sky", "Midnight Rider", and "Melissa". "Everybody Needs Love" is a real tearjerker, and it manages to capture the feel of your typical '70s Southern rock/country-rock ballad pretty well, so I would highly recommend it for the fans of the more countrified side of The Allmans, Skynyrd, The Eagles, etc.
"Flirted With You All My Life" by Cowboy Junkies: What a neat concept, an indie-folk band covering indie-folk artist Vic Chestnutt (who, unfortunately, passed away last year). Having not heard Vic's version, I get the idea it's probably a pretty good song given the bittersweet vibe Cowboy Junkies have given it (plus I have a couple indie music loving friends who really seem to like both Vic and Cowboy Junkies). Cowboy Junkies' version almost seems to come off like Rilo Kiley covering The Cure's "Just Like Heaven" (it has practically the same chord sequence - A, E, B minor, D, with an F sharp minor occasionally replacing the D in "Flirted With You All My Life"). "Flirted With You All My Life" seems like one of those "drinking coffee on a Sunday morning" type of songs if you know what I mean (despite the fact I don't actually drink coffee).
"He Don't Live Here No More" by Robbie Robertson: Is it just me, or has Robbie Robertson wanted to stray farther and farther away from The Band's roots-rock sound ever since he left them? His two '80s solo hits, "Showdown At Big Sky" and "Somewhere Down the Crazy River" both sounded more like Peter Gabriel and the material from Paul Simon's "Graceland" album than they did like The Band. Though the "world music rock" trend that Gabriel, Simon, Joni Mitchell, Sting, and occasionally David Byrne from Talking Heads made possible in the '80s has pretty much faded by now, Robbie Robertson keeps the "world music rock" torch flaming in his latest, "He Don't Live Here No More". Robbie adds even more world music influence in "He Don't Live Here No More" with its flamenco guitar solo in the middle. But don't assume Robbie's forgotten how to rock, the beat of the song is still rock 'n' roll underneath it all!
"On Main Street" by Los Lobos: It seems odd to me that the rather somber, autumnal "Burn It Down" from Los Lobos' latest album ("Tin Can Trust") got noticed in the summer, yet it's taken until winter for the more summery, somewhat '60s rock influenced "On Main Street" to receive airplay on stations besides LA's KCSN. Perhaps I shouldn't let the "seasonal moods" of the two songs get in the way, though, as "On Main Street" is an easygoing feel-good kinda song. The fuzzy electric guitar riffs on "On Main Street" also provide interesting contrast with the mostly acoustic (until the end) "Burn It Down". The summery vibe of "On Main Street" evokes images of laying down underneath the sun on the beach just relaxing the day away. Could Los Lobos' next song be a stormy, ice-cold, wintry one?! I guess we'll find out!
"Second Chance" by Peter Bjorn and John: What do you get if you take the fuzz guitars of '60s psych-pop band Love's "7 And 7 Is", cowbells to keep the rhythm, and add just a dash of the new wave-y indie rock of Phoenix?! You get Peter Bjorn and John's latest song, "Second Chance"!! This is a pretty cool song coming from a band whose only other hit (so far) was the more subdued, quiet (except for the drum intro) indie-pop tune from '06, "Young Folks". Somehow I get the impression that the three Swedish indie-popsters were listening to The Black Keys' latest album, "Brothers" when they made "Second Chance", as it has practically the same sort of "fuzz guitars" as many of the songs on that CD! "Young Folks" was a mostly keyboard oriented song, so I was pretty surprised to hear not only that "Second Chance" even had a guitar to begin with, but that the solos seemed to be taken straight out of one of Led Zeppelin's songs!! Way to go, Peter Bjorn and John! Between this song and the video for "Architects and Engineers", I can't decide which one is my fave song of the week!!
Wednesday, January 26, 2011
New songs for Jan. 26th, 2011
here they are:
"Cry Cry Cry" by Nicole Atkins: Not too many people know Nicole Atkins, but it's high time they did, I think! She created a minor buzz on adult alt stations back in '08 with the somewhat Regina Spektor/Kate Nash sounding "Maybe Tonight", a danceable upbeat indie pop tune with wistful, benign feminine charm. I always suspected she'd be a "one hit wonder" on such stations, but apparently I was wrong! "Cry Cry Cry" is also making a buzz on the adult alt airwaves! It continues in the same path as "Maybe Tonight", but with a bit less of an emphasis on the danceable-ness. Think what it would sound like if Regina Spektor attempted to cover a Bonnie Raitt song, and you'll probably get a pretty good idea of what "Cry Cry Cry" sounds like!
"Pyro" by Kings of Leon: Like "Radioactive" before it, "Pyro" is also becoming a fast climber on the adult alt charts!! Unlike "Radioactive"'s rivetingly raving rocker type feel, "Pyro" is more of a plaintive, poetic piece of pop-rock. Though KOL have had slower songs before ("Revelry", for instance), none of their slower material was as popular as their faster, catchier tunes, so "Pyro" marks a first in KOL history! The beat of the song sounds remarkably similar to another poetic, introspective pop/rock song ("Everybody Wants to Rule the World" by Tears for Fears), and even lyrically, "Pyro" is an achingly yearning ballad (for instance, in the chorus, "I won't ever be your cornerstone"). One more interesting thing to note, neither "Pyro" nor "Radioactive" used their titles anywhere within their lyrics - I guess KOL want to try to trick us as to what the titles of their latest songs are!!
"Cry Cry Cry" by Nicole Atkins: Not too many people know Nicole Atkins, but it's high time they did, I think! She created a minor buzz on adult alt stations back in '08 with the somewhat Regina Spektor/Kate Nash sounding "Maybe Tonight", a danceable upbeat indie pop tune with wistful, benign feminine charm. I always suspected she'd be a "one hit wonder" on such stations, but apparently I was wrong! "Cry Cry Cry" is also making a buzz on the adult alt airwaves! It continues in the same path as "Maybe Tonight", but with a bit less of an emphasis on the danceable-ness. Think what it would sound like if Regina Spektor attempted to cover a Bonnie Raitt song, and you'll probably get a pretty good idea of what "Cry Cry Cry" sounds like!
"Pyro" by Kings of Leon: Like "Radioactive" before it, "Pyro" is also becoming a fast climber on the adult alt charts!! Unlike "Radioactive"'s rivetingly raving rocker type feel, "Pyro" is more of a plaintive, poetic piece of pop-rock. Though KOL have had slower songs before ("Revelry", for instance), none of their slower material was as popular as their faster, catchier tunes, so "Pyro" marks a first in KOL history! The beat of the song sounds remarkably similar to another poetic, introspective pop/rock song ("Everybody Wants to Rule the World" by Tears for Fears), and even lyrically, "Pyro" is an achingly yearning ballad (for instance, in the chorus, "I won't ever be your cornerstone"). One more interesting thing to note, neither "Pyro" nor "Radioactive" used their titles anywhere within their lyrics - I guess KOL want to try to trick us as to what the titles of their latest songs are!!
Wednesday, January 19, 2011
New songs for Jan. 19th, 2011
here they are:
"Ain't Good Enough For You" by Bruce Springsteen: If you're a fan of both the music from "Grease" AND Springsteen (I count myself among those fans), then this is the song for you! The youthful, energetic vibe of this song really recaptures not only the swingin' beat of many '50s rock songs, but also even lyrically in some parts (like the call-and-response "whoa-oh-ho-hoh"s and "little darlin'"s in the chorus!!) The masking of sexual frustration over a toe-tappin' rhythm make it seem all the more like a '50s rock song, as many songs in "Grease" were kinda like this (come to think of it, the whole MOVIE was, really). Here's to yet another sign of The Boss gettin' back to his roots!
"Give Me Something" by Scars On 45: There were a couple songs like this one last year, and two of them just happened to make my Top 20 of the year ("New Morning" by Alpha Rev and "Take Everything" by Greg Laswell). There's something about "romantic" sounding Britpop (i.e. Oasis, Travis, Snow Patrol, etc.) type material that I seem to like! Perhaps it's just so sincere and heartfelt that it just tugs at the ol' heartstrings. It doesn't always work, though (Alpha Rev's "Phoenix Burn", for instance, I found a bit dull for my tastes). So what makes "Give Me Something" work for me?! Perhaps the guitars sound a bit like a cross between Travis and Death Cab for Cutie in this song, both of whom I like, and it also sounds like Scars on 45's lead singer is more focused on delivering a positive message than focusing on trying to make a "hit".
"Mine Smell Like Honey" by R.E.M.: What, ANOTHER new R.E.M. song?!? But there was just one last month!! I'm a bit surprised this one's a hard-rockin' song, too, like their effort from last month, "Discoverer". Perhaps their album "Collapse Into Now" will be their new "Monster" (the one that featured "Bang And Blame" and "What's the Frequency Kenneth?") The brand of "hard rock" (or, more aptly, power pop) that R.E.M. use for this song is a bit more of a fast-paced Matthew Sweet/"edgier" Gin Blossoms type sound than it is the more straight-ahead classic rock influence of "Discoverer", though. R.E.M. seem to want to steer away from their more "sensitive" side with their latest two songs, and "Mine Smell Like Honey" makes that especially clear with its garbled lyrics (which Michael Stipe probably made sound that way on purpose!) Well, one thing is clear, though, R.E.M. are back and ready to rock out!!
"Pill" by Edie Brickell: Most people remember Edie for being a one-hit wonder for her vibrant, unique, almost Rickie Lee Jones-ish late '80s tune, "What I Am". Adult alt radio has focused on her work a little bit more, though. Some of such stations might also play her more depressing, somewhat Fleetwood Mac-ish "Circle", and in '05 a more pleasant sounding folk-pop-y song called "Rush Around" became a minor hit, too (I didn't like "Rush Around" that much, though). I've gotta say, though, I was pleasantly surprised when I heard "Pill", which evokes such indie songstresses as Neko Case and Beth Orton (almost reminds of some of Rickie Lee Jones' newer material). Perhaps wanting to fulfill more of an "indie" image, Brickell seems to almost deliver the chorus ("They've got a pill for that") in a somewhat deadpan, sarcastic sort of manner.
"Shell Games" by Bright Eyes: Conor Oberst and co continue to have their talent shine in this tune!! For awhile, they seemed to take a more Petty/Springsteen based "roots-rock" approach, but for their longtime "indie" fans, Bright Eyes are back!! "Shell Games" starts out with a melancholy piano, and then turns into a full-on indie tune with the pianos, synthesizers, and electric guitars dueling with each other! No this doesn't mean they've reached "arena rock" proportions, but they've added a bit more of an Arcade Fire/later Wilco/Phoenix type sound to their music this time. So THIS is probably why they're headlining Coachella's second day with Mumford and Sons and Arcade Fire. They're in that kind of company once again!
"That's Some Dream" by Good Old War: One of the shortest songs I've reviewed in awhile (about 2 and a half minutes), but still worth listening to. GOW manage to squeeze in all the neo-folk-rock bliss they can within such a short amount of time, so much so that the entire SONG feels like "some dream". It's also interesting to note that the title is only mentioned at the very end of the song (perhaps to evoke the feel that this song goes by faster than expected, like a dream). I made a comparison of Good Old War to Simon and Garfunkel the last time I reviewed them ("My Own Sinking Ship" - July '10), and it seems even MORE apt on this one, with the "lie-lie-lie, la-la-lie"s in the chorus, perhaps borrowed straight from "The Boxer".
"This Is Why We Fight" by The Decemberists: For the original generation of folk-rockers not satisfied with the more emotionally centered topics of the "neo-folk-rock" boom of indie musicians, it might help to know that Colin Meloy and his unusually large band are not afraid to address political issues like Woody and Arlo Guthrie's songs, "Eve of Destruction, Neil Young's songs, and the early Bob Dylan tunes did. The title alone seems to indicate grim, war-related subject matter, and indeed it does. This is not the first time The Decemberists have addressed political topics, though, as "16 Military Wives" was a critical attack on news programs and the American political system in general, and The Decemberists even made a guest appearance on "The Colbert Report" at one time! The bluegrass-meets-folk-rock type sound of this song might bring to mind acts like Mumford and Sons and The Avett Brothers, though The Decemberists might evoke the latter a bit more on this song with its harmonica solos.
"Ain't Good Enough For You" by Bruce Springsteen: If you're a fan of both the music from "Grease" AND Springsteen (I count myself among those fans), then this is the song for you! The youthful, energetic vibe of this song really recaptures not only the swingin' beat of many '50s rock songs, but also even lyrically in some parts (like the call-and-response "whoa-oh-ho-hoh"s and "little darlin'"s in the chorus!!) The masking of sexual frustration over a toe-tappin' rhythm make it seem all the more like a '50s rock song, as many songs in "Grease" were kinda like this (come to think of it, the whole MOVIE was, really). Here's to yet another sign of The Boss gettin' back to his roots!
"Give Me Something" by Scars On 45: There were a couple songs like this one last year, and two of them just happened to make my Top 20 of the year ("New Morning" by Alpha Rev and "Take Everything" by Greg Laswell). There's something about "romantic" sounding Britpop (i.e. Oasis, Travis, Snow Patrol, etc.) type material that I seem to like! Perhaps it's just so sincere and heartfelt that it just tugs at the ol' heartstrings. It doesn't always work, though (Alpha Rev's "Phoenix Burn", for instance, I found a bit dull for my tastes). So what makes "Give Me Something" work for me?! Perhaps the guitars sound a bit like a cross between Travis and Death Cab for Cutie in this song, both of whom I like, and it also sounds like Scars on 45's lead singer is more focused on delivering a positive message than focusing on trying to make a "hit".
"Mine Smell Like Honey" by R.E.M.: What, ANOTHER new R.E.M. song?!? But there was just one last month!! I'm a bit surprised this one's a hard-rockin' song, too, like their effort from last month, "Discoverer". Perhaps their album "Collapse Into Now" will be their new "Monster" (the one that featured "Bang And Blame" and "What's the Frequency Kenneth?") The brand of "hard rock" (or, more aptly, power pop) that R.E.M. use for this song is a bit more of a fast-paced Matthew Sweet/"edgier" Gin Blossoms type sound than it is the more straight-ahead classic rock influence of "Discoverer", though. R.E.M. seem to want to steer away from their more "sensitive" side with their latest two songs, and "Mine Smell Like Honey" makes that especially clear with its garbled lyrics (which Michael Stipe probably made sound that way on purpose!) Well, one thing is clear, though, R.E.M. are back and ready to rock out!!
"Pill" by Edie Brickell: Most people remember Edie for being a one-hit wonder for her vibrant, unique, almost Rickie Lee Jones-ish late '80s tune, "What I Am". Adult alt radio has focused on her work a little bit more, though. Some of such stations might also play her more depressing, somewhat Fleetwood Mac-ish "Circle", and in '05 a more pleasant sounding folk-pop-y song called "Rush Around" became a minor hit, too (I didn't like "Rush Around" that much, though). I've gotta say, though, I was pleasantly surprised when I heard "Pill", which evokes such indie songstresses as Neko Case and Beth Orton (almost reminds of some of Rickie Lee Jones' newer material). Perhaps wanting to fulfill more of an "indie" image, Brickell seems to almost deliver the chorus ("They've got a pill for that") in a somewhat deadpan, sarcastic sort of manner.
"Shell Games" by Bright Eyes: Conor Oberst and co continue to have their talent shine in this tune!! For awhile, they seemed to take a more Petty/Springsteen based "roots-rock" approach, but for their longtime "indie" fans, Bright Eyes are back!! "Shell Games" starts out with a melancholy piano, and then turns into a full-on indie tune with the pianos, synthesizers, and electric guitars dueling with each other! No this doesn't mean they've reached "arena rock" proportions, but they've added a bit more of an Arcade Fire/later Wilco/Phoenix type sound to their music this time. So THIS is probably why they're headlining Coachella's second day with Mumford and Sons and Arcade Fire. They're in that kind of company once again!
"That's Some Dream" by Good Old War: One of the shortest songs I've reviewed in awhile (about 2 and a half minutes), but still worth listening to. GOW manage to squeeze in all the neo-folk-rock bliss they can within such a short amount of time, so much so that the entire SONG feels like "some dream". It's also interesting to note that the title is only mentioned at the very end of the song (perhaps to evoke the feel that this song goes by faster than expected, like a dream). I made a comparison of Good Old War to Simon and Garfunkel the last time I reviewed them ("My Own Sinking Ship" - July '10), and it seems even MORE apt on this one, with the "lie-lie-lie, la-la-lie"s in the chorus, perhaps borrowed straight from "The Boxer".
"This Is Why We Fight" by The Decemberists: For the original generation of folk-rockers not satisfied with the more emotionally centered topics of the "neo-folk-rock" boom of indie musicians, it might help to know that Colin Meloy and his unusually large band are not afraid to address political issues like Woody and Arlo Guthrie's songs, "Eve of Destruction, Neil Young's songs, and the early Bob Dylan tunes did. The title alone seems to indicate grim, war-related subject matter, and indeed it does. This is not the first time The Decemberists have addressed political topics, though, as "16 Military Wives" was a critical attack on news programs and the American political system in general, and The Decemberists even made a guest appearance on "The Colbert Report" at one time! The bluegrass-meets-folk-rock type sound of this song might bring to mind acts like Mumford and Sons and The Avett Brothers, though The Decemberists might evoke the latter a bit more on this song with its harmonica solos.
Wednesday, January 12, 2011
First blog of the new year!!!
And it's eclectic as ever!! Neo-folk-rockers Iron & Wine, a classic rock comeback from Gregg Allman of The Allman Brothers Band, and blues-rock/neo-soul group JJ Grey and Mofro. Here goes!!
"Hide And Seek" by JJ Grey and Mofro: JJ Grey and Mofro are one of those self-consciously "retro" acts, but the last two tracks I heard from them ("Orange Blossoms" and "The Sweetest Thing") seemed to evoke mid '60s soul with a touch of blues guitar. "Hide And Seek" progresses forward another decade to the '70s with its funk influences. Perhaps the highlight of this song is the keyboard (?) solo in the middle, this side of "Superfreak"! All in all, this is a sleek, funky track to start out the new year!
"Just Another Rider" by Gregg Allman: For those expecting another "Whipping Post", you'll probably be let down. However, this isn't the mellow-ish country-rock Gregg Allman of "Melissa" and "Blue Sky" fame, either. Instead this is more of a jazzy, soul-inflected tune with blues/rock guitar solos in between. This song would probably be perfect to those who like blues with a jazzy flavor (or vice versa), with its minor chord chorus, and its blues-y sounding lyrics ("just another rider on the train to nowhere"). Never would have expected one of The Allman Brothers to come out with one of the first good tracks of the new year, but I guess that means 2011 will have some good stuff up ahead!
"Tree By the River" by Iron & Wine: When I heard earlier on that IAW were going to be "going electric", I expected to hear influences a la Neil Young's "Down By the River". Thankfully, Sam Beam and co have kept the mellow in their music, despite the absence of (fronting) acoustic guitars in "Tree By the River". "Tree" evokes the more calming side of the "psychedelic" era (think early Moody Blues, "Pet Sounds" era Beach Boys, etc.) This being IAW, as well as a fine piece of "neo-folk-rock", "Tree By the River" is probably my fave release so far of the new year!
"Hide And Seek" by JJ Grey and Mofro: JJ Grey and Mofro are one of those self-consciously "retro" acts, but the last two tracks I heard from them ("Orange Blossoms" and "The Sweetest Thing") seemed to evoke mid '60s soul with a touch of blues guitar. "Hide And Seek" progresses forward another decade to the '70s with its funk influences. Perhaps the highlight of this song is the keyboard (?) solo in the middle, this side of "Superfreak"! All in all, this is a sleek, funky track to start out the new year!
"Just Another Rider" by Gregg Allman: For those expecting another "Whipping Post", you'll probably be let down. However, this isn't the mellow-ish country-rock Gregg Allman of "Melissa" and "Blue Sky" fame, either. Instead this is more of a jazzy, soul-inflected tune with blues/rock guitar solos in between. This song would probably be perfect to those who like blues with a jazzy flavor (or vice versa), with its minor chord chorus, and its blues-y sounding lyrics ("just another rider on the train to nowhere"). Never would have expected one of The Allman Brothers to come out with one of the first good tracks of the new year, but I guess that means 2011 will have some good stuff up ahead!
"Tree By the River" by Iron & Wine: When I heard earlier on that IAW were going to be "going electric", I expected to hear influences a la Neil Young's "Down By the River". Thankfully, Sam Beam and co have kept the mellow in their music, despite the absence of (fronting) acoustic guitars in "Tree By the River". "Tree" evokes the more calming side of the "psychedelic" era (think early Moody Blues, "Pet Sounds" era Beach Boys, etc.) This being IAW, as well as a fine piece of "neo-folk-rock", "Tree By the River" is probably my fave release so far of the new year!
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